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Descrizione dell’editore

Together with Glenn Patterson and Colin Bateman, Robert McLiam Wilson can be considered one of the first Northern Irish authors who has convincingly approached the "Troubles" in a provocative and unconventional way. The dramatic vision of the conflict we can find in works such as Brian Moore's Lies of Silence or Bernard Mac Laverty's Cal are totally transformed into a more satirical vision in McLiam Wilson's Eureka Street. In this novel, the Northern Irish author goes against the tendency to present terrorist attacks in favour of a bitingly comic satire against politicians, terrorists, well-to-do citizens and exacerbated nationalists, whom he sees as one of the most dangerous threats to art. This paper will examine the satirical strategies the author draws on in Eureka Street, and explain their function in the narrative and contextual framework of the novel. In this sense, I will chiefly focus on the rhetorical devices which recur most frequently, as well as the role of the city of Belfast and its inhabitants as the unquestionable generators of satire in the novel. I will also demonstrate that this novel conforms to most of the parameters that characterise twentieth-century satire, specifically its lack of moralising objectives, which is basically what differentiates current satire from that of the seventeenth or eighteenth centuries. Not at all, satire is never pointless. It makes us look stupid and besides it's just a pretty good wheeze. (Eureka Street 356)

Professionali e tecnici
1 dicembre
Spanish Association for Anglo-American Studies (AEDEAN)

Altri libri di revista de la Asociacion Espanola de Estudios Anglo-Norteamericanos Atlantis